Images of the Tropics critically examines Dutch colonial culture in the Netherlands Indies through the prism of landscape art. Susie Protschky contends that visual representations of nature and landscape were core elements of how Europeans understood the tropics, justified their territorial claims in the region, and understood their place both in imperial Europe and in colonized Asia during the nineteenth and early twentieth centuries. Her book thus makes a significant contribution to studies of empire, art and environment, as well as to histories of Indonesia and Europe. Surveying a rich visual culture developed over a period of some 350 years of Dutch colonial engagement with Indonesia Susie Protschky demonstrates how views of the archipelago’s environment were far from simple topographical souvenirs. Rather, this book reveals how images of the tropics visually articulated colonial attempts to legitimize and historicize what were in fact continually changing and contested claims to Dutch territorial sovereignty in the Indies. Further, colonial images of nature were routinely inflected with diverse cultural preoccupations, among them the constitution of gender, class and racial boundaries in Indies society; the tenor of sexual mores in the tropics; and the political role of religion in the archipelago. Landscape art thus indexed colonial views on a range of pressing social and political concerns.

To celebrate Anthony Reid's numerous and seminal contributions to the field of Southeast Asian history, a group of his colleagues and students has contributed essays for this Festschrift. In addition to introductory essays which provide personal and intellectual histories of Anthony Reid the man, there is a range of original scholarly contributions addressing historical issues which Reid has researched during his career. Divided into sections which examine Southeast Asia in the world, early modern Southeast Asia, and modern Southeast Asia, these works engage with issues ranging from the Age of Commerce and comparative Eurasian history, to nationalism, ethnic hybridity, Islam, technological change, and the Chinese and Arabs in Southeast Asia. The authors include some of the foremost historians of Southeast Asia in our generation.

As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and mystical symbols that are central to literature and worship, this publication celebrates the diverse styles and traditions of Indian painting. Divine Pleasures features an informative entry for each work and two essays by scholar Terence McInerney that together outline the history of Indian painting and the Rajput courts, providing fresh insights and interpretations. Also included are a personal essay by expert and collector Steven M. Kossak and an examination of Hindu epic and myth in Mughal painting, which lays important foundations for Rajput painting, by curator Navina Najat Haidar. Through their research and observations, the authors deepen our understanding and underscore the significance of Indian painting. Divine Pleasures presents a nuanced view of a way of life intimately tied to the seasons, the arts, and the divine.

Chinese Contemporary Art in the Global Auction Market charts the rapid emergence of a multi-million-dollar global market for Chinese Contemporary art by revealing the strategic activities of art world agents in promoting the work of ‘avant-garde’ Chinese artists to a Western audience.